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Morgan Plus 8
We're pulling away from a roundabout on the ring-road of a Midlands town. It's Sunday evening and the road is empty, and we're out cruising in Morgan's new Plus 8. 'Does this thing have traction control?' asks my car-mad passenger, who's a keen vintage racer. So I floor the accelerator. The four tail-pipes bellow a V8 battlecry, and the back of the car immediately steps sideways as the tires give up the fight. And we're in third gear at the time. No response is necessary: if there is traction control fitted to this Morgan, then it ain't up to the job.
Hooligan behaviour, certainly, but the Plus 8 has always been that kind of a car. The 3.5-liter Rover original of 1968 was the classic combination of a big engine in a light car, and this 4.8-liter BMW-powered reincarnation takes that simple formula to the extreme. You don't have to be a mathematical genius to work out that 367bhp in a car weighing 1100kg equates to considerably more than 300bhp per tonne. Fortunately, there's much more to the new Plus 8 than simply an excess of power.
The Rover-engined Plus 8 stayed in production a surprisingly long time, and remains Morgan's single biggest-selling model – about 6000 cars. The first prototype (which used a Buick version of the V8 that Rover was then still evaluating for its own cars) was finished in February 1967, and the final production cars were built in March 2004, to be superseded by the radical new Aero 8. Along the way it evolved through 3.9- and 4.6-liter engine capacities, switched from SU carburetors to Strombergs and then to Lucas fuel injection, and grew physically wider. But what didn't change was the Plus 8's raison d'Ϊtre: 911 Turbo-humbling acceleration allied to steam-engine torque. OK, so the ride quality was old-school Morgan – the suspension was as old as the company itself, consisting of sliding pillars at the front and a leaf-sprung live axle at the rear – but, really, who cared?
All this changed at the end of the millennium, though. By now well into its fourth decade of production, the Rover engine could no longer handle the environmental and technical demands of the 21st century. And Morgan itself, stung by ill-informed media snipes that it was perpetually backward-looking, wanted to reinvent itself. It did that in a suitably dramatic way by announcing the BMW-engined, Chris Lawrence-developed Aero 8 roadster at the Geneva Motor Show in 2000.
For many, though, the Aero 8 was a step-change too far. Enthusiasts loved the performance but were much less convinced by the cross-eyed looks. I remember the feelings of misgivings I experienced on seeing a pre-launch example at the factory, and I wasn't in the position of having to decide whether to spend $75,000 for the privilege of owning one. In truth, it didn't look that bad – but the Morgan hardcore knows what it likes and likes what it knows, and for them the Aero 8 was like a Picasso portrait hung in a gallery previously stocked with Gainsboroughs.
So, for 2012, the company has followed the route many would have preferred to see it take in 2000. The chassis is essentially Aero 8, with the latest development of BMW's N62-series V8, and it's clothed in Morgan's now-familiar Superformed aluminium panels; but the style is unmistakably traditional, albeit funked-up with very 21st-century Italian alloy wheels and, on this example – the 2012 Geneva show car – lurid orange paint.
Initially, we were disappointed not to see the side-exit exhausts that are an option on the Aero SuperSports coupe'. That disappointment didn't last long. To put it simply, the Plus 8 makes the most glorious, spine-tingling, melodious, inspiring and, yes, loud V8 music you've ever heard. It's never coarse and you can keep the decibels down if you need to, but the noise alone makes the $125,000 asking price seem halfway palatable.
The good news is that there's a lot more to like about the Plus 8 than just the sound it makes. We've already hinted at its performance; well, the acceleration is literally breathtaking, in that if you squeeze the throttle hard, the resultant shove in your back is enough to expel the air from your lungs – or so it seems. The quoted 0-60mph time is 4.5 seconds and there's so much torque that it scarcely matters which gear you're in at the time.
As for top speed – Morgan claims 155mph, presumably with the (double-lined) hood up for aerodynamic reasons, although we'd guess that a Plus 8 with no additional spoilers front or rear would be getting pretty exciting well before then. Hood down, we can confirm that the Plus 8 remains quite civilised into three-figure speeds; it's a bit breezy around the back of your neck, but that's what scarves are for.
At 5ft 9in across – that's 1751mm in the new money – the new Plus 8 is a whole foot wider than the 1970 original shown in our pictures, and that translates into a cockpit that's perfectly comfortable for modern humans who have, shall we say, benefited from a more substantial diet than previous generations. There's plenty of legroom, although – on this left-hand-drive car, at least – the limitations of fitting a cockpit between two running boards mean that there's no space for a clutch footrest. Sensibly, Morgan has retained the original car's dashboard layout that has the speedometer and rev-counter located in the middle of the dash, so taller drivers don't have to duck down in order to read instruments obscured by a steering wheel rim. That's a major irritation on the Aeromax and SuperSports, and while the central location works fine, we'd love to see Morgan introduce a head-up display projected onto the windscreen – there's your next challenge, chaps!
Beneath the bespoke alloy panels and between the Aero 8-derived suspension lies 4.8 liters of BMW's finest V8, bolted to a six-speed BMW manual gearbox or, if you prefer, a six-speed ZF automatic. The manual 'box is lovely to use, being light and sweet-shifting, and clutch and brakes are just as pleasant; the latter feel very progressive and powerful, and you don't notice them in normal driving, which is the best compliment you can pay. Oh, and there isn't any traction control. We checked.
If we have any criticism of the steering – less a criticism, more an observation – it's that it's initially slightly lazy to respond but then sharpens-up quickly, such that you can over-input if you're not anticipating it and make allowance accordingly. But since this is a prototype car, straight out of build and generously entrusted to us with virtually zero miles on the clock, it would be unfair to read too much into this – we remember all too well our drive back from Italy in the prototype Aero SuperSports, whose alarming high-speed wandering tendencies turned out to be due to a batch of faulty track rod ends with insufficient tolerances…
And that brings us to Morgan's bΪte noir for so many years – particularly in relation to the original Plus 8 – the ride quality. Be not afraid. The new car doesn't rearrange your internal organs the first time you encounter a bit of broken tarmac. OK, the ride is on the firm side, but it never gets uncomfortable and it would be very acceptable in any performance car, never mind a Morgan. You could very happily drive this Plus 8 a long distance and would emerge stirred, but not shaken.
That's rather less true of John Spencer's 1970 Plus 8, a well-campaigned car that was owned for many years by Jeremy Holden, of accessory retailer Holden Vintage & Classic. Both Autocar and Motor tested a similar Plus 8 when new; the former declared that the ride was 'decidedly uncomfortable over second-class roads', while the latter said, 'On grade two surfaces, the ride is so bad that roadholding suffers more than do the passengers.'
These days, we'd be more forgiving of a 40-year-old classic than contemporary road-testers were of a then-new car, and any current owner will accept the odd jar and rattle as all part of the Plus 8's character. That 3.5-liter Rover V8 up front brings with it a lot of goodwill, and its laidback, effortless behaviour far outweighs the more vintage aspects of the car's design. Early Plus 8s like this one had the high-compression version of the Rover engine, which could push the car to 60mph from rest in 6.7sec and on to over 120mph, but the performance is delivered in quite a mellow fashion; whereas the new car is all sound and fury, popping and crackling on the overrun in a delightfully menacing way, the old car seems mild in comparison.
Then again, maybe it's just that this example has had a hard life. In Jeremy Holden's hands, it did the first Monte Carlo Challenge in 1990 – 'blasting across snow-covered plains was the best thing ever,' he recalls fondly.
Regardless, this early Plus 8 still has more than adequate performance, and a dab of the throttle is enough to send it squirting past slower traffic at will. There's a soft, liquid quality to its exhaust note and it never becomes really aggressive; this laid-back character is quite relaxing and almost at odds with the macho image conveyed by the roll-over bar and competition roundels. And the early car has one advantage over the 2012 version: significant stowage space behind the rear seats. Useful when you're doing, say, a rally to Monte Carlo.
In the late '60s, when Morgan was experimenting with the new Rover V8, there wasn't yet a manual gearbox available from Rover that could cope with the engine's power and torque, so Morgan went down the really vintage route of using a separately mounted Moss 'box that was connected to the engine by a short torque tube. Its shift quality was never much liked and from late 1971 it was superseded by Rover's new manual 'box from the 3500S. Later still that would be displaced by the SD1 five-speed LT77 transmission, and finally the R380 five-speeder used in the Range Rover. John's car has had the SD1 'box retro-fitted, and it suits the car perfectly – in fact, coupled to the original short Moss gearlever, it actually feels nicer to use in the Morgan than in its Rover application.
With 11-inch Girling discs up front and only 900kg to arrest, stopping is never going to be an issue with the original Plus 8. Interestingly, though, the steering displays the same kind of quirkiness as the new car's, although in a slightly different way. The new car turns in easily, then sharpens up rapidly; the old one suffers a slight time lag between you turning the wheel and it reacting to the command. John says he has the tire pressures set at 22psi, which seems on the low side, but Jeremy later confirmed that this is the factory's recommended figure for normal driving, so either the tires have more sidewall flex than usual or there's some play in the steering… Plus 8 steering is usually regarded as being pretty accurate, if rather heavy – Autocar said that you had to acclimatise to steering 'from the elbows rather than with the fingertips'.
When Morgan finally had to put the original Plus 8 to sleep in 2004, it was left with a gap in its range between the 2.0-liter Ford-engined Plus 4 and the recently launched, and much more expensive, Aero 8. It found an answer, of sorts, by slotting Ford's 3.0-liter Duratec V6 from the Mondeo ST220 into its traditional Roadster chassis; but although that resulted in a perfectly good car, whose power output was very similar to the outgoing 4.6-liter V8's, it never seemed to capture the imagination in quite the same way. Perhaps one reason was that the modern, high-revving Ford engine showed up the ride and handling deficiencies of the ageing Roadster chassis in a way that was less noticeable – or, rather, more acceptable – when it was fitted with the massively torquey and characterful Rover V8.
Now we have a new Plus 8, riding on a modern chassis and with a 'proper' V8. But the enormous strides Morgan has taken to make it fit for the 21st century come at a price. A Plus 8 will set you back $125,000, including tax. Considering that it's based on the Aero 8, which had a list price of $100,000 at the end of production in 2010, that's not unreasonable; however, the Aero 8 looked like no other car, whereas the Plus 8 essentially looks like every other Morgan made since the early 1950s.
Morgan, though, hopes that the Plus 8's revived traditional style will win back wealthy buyers who were alienated by the 'out there' appearance of the Aero 8. As one insider muttered to us: 'It's the car we should have made in the first place.' Anyone with lingering doubts about whether it's worth the asking price should try driving it. Or, just as important, listening to it.
Thanks to John Spencer, Jeremy Holden, and Derek Magrath and son Joe.
1970 Morgan Plus 8
Engine Rover 3528cc V8, OHV, two SU HS6 carburetors
Power 160bhp @5200rpm
Torque 210bhp @ 2600rpm
Transmission Moss four-speed manual (this car Rover LT77 five-speed manual), rear-wheel drive
Steering Cam and peg
Suspension Front: sliding pillars, coil springs, telescopic dampers. Rear: underslung live axle, semi-elliptic leaf springs, lever-arm dampers
Brakes Discs front, drums rear
Weight 900kg
Performance 0-60mph 6.7sec. Top speed 124mph
2012 Morgan Plus 8
Engine BMW 4799cc V8, DOHC per bank, 32-valve, electronic fuel injection and engine management
Power 367bhp @ est 6300rpm
Torque 370lb ft @ est 3400rpm
Transmission Six-speed manual or ZF six-speed auto, rear-wheel drive
Steering Rack and pinion
Suspension Front: lower wishbones, cantilever upper arms, Eibach coil springs over Koni dampers. Rear: double wishbones, fully floating Eibach coil springs over Koni dampers
Brakes Vented discs
Weight 1100kg
Performance 0-60mph 4.5sec. Top speed 155mph
Published Dec 7th, 2015
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Many weddings as gay marriage becomes legal in Md.
TILGHMAN ISLAND, Md. - Same-sex couples in Maryland were greeted with cheers and noisemakers held over from New Year's Eve parties, as gay marriage became legal in the first state south of the Mason-Dixon Line on New Year's Day.
James Scales, 68, was married to William Tasker, 60, on Tuesday shortly after midnight by Baltimore Mayor Stephanie Rawlings-Blake inside City Hall.
"It's just so hard to believe it's happening," Scales said shortly before marrying his partner of 35 years.
Six other same-sex couples also were being married at City Hall. Ceremonies were taking place in other parts of the state as well.
The ceremonies follow a legislative fight that pitted Gov. Martin O'Malley against leaders of his Catholic faith. Voters in the state, founded by Catholics in the 17th century, sealed the change by approving a November ballot question.
"There is no human institution more sacred than that of the one that you are about to form," Rawlings-Blake said during the brief ceremony. "True marriage, true marriage, is the dearest of all earthly relationships."
Brigitte Ronnett, who also was married, said she hopes one day to see full federal recognition of same-sex marriage. Maryland, Maine and Washington state were the first states to approve same-sex marriage by popular vote, in November, a development Ronnett said was significant.
"I think it's a great sign when you see that popular opinion is now in favor of this," said Ronnett, 51, who married Lisa Walther, 51, at City Hall.
Same-sex couples in Maryland have been able to get marriage licenses since Dec. 6, but they did not take effect until Tuesday.
In 2011, same-sex marriage legislation passed in the state Senate but stalled in the House of Delegates. O'Malley hadn't made the issue a key part of his 2011 legislative agenda, but indicated that summer that he was considering backing a measure similar to New York's law, which includes exemptions for religious organizations.
Shortly after, Archbishop Edwin O'Brien of Baltimore wrote to O'Malley that same-sex marriage went against the governor's faith.
"As advocates for the truths we are compelled to uphold, we speak with equal intensity and urgency in opposition to your promoting a goal that so deeply conflicts with your faith, not to mention the best interests of our society," wrote O'Brien, who served as archbishop of the nation's first diocese from October 2007 to August 2011.
The governor was not persuaded. He held a news conference in July 2011 to announce that he would make same-sex marriage a priority in the 2012 legislative session. He wrote back to the archbishop that "when shortcomings in our laws bring about a result that is unjust, I have a public obligation to try to change that injustice."
The measure, with exemptions for religious organizations that choose not to marry gay couples, passed the House of Delegates in February in a close vote. O'Malley signed it in March. Opponents then gathered enough signatures to put the bill to a statewide vote, and it passed with 52 percent in favor.
In total, nine states and the District of Columbia have approved same-sex marriage. The other states are Connecticut, Iowa, Maine, Massachusetts, New Hampshire, New York, Vermont and Washington.
Meanwhile, the weddings continued throughout the day Tuesday. Clayton Zook, 28, and Wayne McKenzie, 30, married by the waters of the Chesapeake Bay at the Black Walnut Point Inn on Tilghman Island.
"We've been together for six and a half years, so this one day doesn't really change a whole lot as far as our feelings," said Zook, of Baltimore. "It does change a whole lot in how we are recognized, and we're certainly felt more as equal in the state of Maryland now."

subset: commoncrawl


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The Portland Guardian and Normanby General Advertiser had a regular feature know as "Table Talk" presenting local news. The June 4, 1860 edition demonstrates some of the rivalries which already existed between towns in the Western District.
The writer is bemused that the Ararat newspaper, presumably the Ararat Advertiser, could compare Ararat with the three coastal towns, Belfast, Warrnambool, and Portland. Also at the time, money was being spent on the road from Ararat to Warrnambool. The writer made it clear that while the Government described the road as the Ararat to Portland district road, Portland was in no way benefiting from the money which was being spent on the road.
Land sales were also making news. The Government was releasing land in the Merino, Tahara, and Digby raising concern that by the time the Land Sales Bill went through there would be little decent land to buy. Further on in the paper, several advertisements spruik the land opportunities including this one for acreage at Tahara
A "superior class" of female immigrants were making their way to Portland in the following week, the paper reports. The women had arrived in Melbourne aboard the Atalanta and were considered to be "of timely benefit to this town".
The mail was late in Mount Gambier on June 2, arriving at 2.40pm. The correspondent surmises that something must have happened to the mailman because when he did arrive, his head was bandaged.


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The HTTPS cryptographic scheme, which protects millions of websites, is susceptible to a new attack that allows hackers to pluck e-mail addresses and certain types of security credentials out of encrypted pages, often in as little as 30 seconds.
The technique, scheduled to be demonstrated Thursday at the Black Hat security conference in Las Vegas, decodes encrypted data that online banks and e-commerce sites send in responses that are protected by the widely used transport layer security (TLS) and secure sockets layer (SSL) protocols. The attack can extract specific pieces of data, such as social security numbers, e-mail addresses, certain types of security tokens, and password-reset links. It works against all versions of TLS and SSL regardless of the encryption algorithm or cipher that's used.
It requires that the attacker have the ability to passively monitor the traffic traveling between the end user and website. The attack also requires the attacker to force the victim to visit a malicious link. This can be done by injecting an iframe tag in a website the victim normally visits or, alternatively, by tricking the victim into viewing an e-mail with hidden images that automatically download and generate HTTP requests. The malicious link causes the victim's computer to make multiple requests to the HTTPS server that's being targeted. These requests are used to make "probing guesses" that will be explained shortly.
"We're not decrypting the entire channel, but only extracting the secrets we care about," Yoel Gluck, one of three researchers who developed the attack, told Ars. "It's a very targeted attack. We just need to find one corner [of a website response] that has the token or password change and go after that page to extract the secret. In general, any secret that's relevant [and] located in the body, whether it be on a webpage or an Ajax response, we have the ability to extract that secret in under 30 seconds, typically."
It's the latest attack to chip away at the HTTPS encryption scheme, which forms the cornerstone of virtually all security involving the Web, e-mail, and other Internet services. It joins a pantheon of other hacks introduced over the past few years that bear names such as CRIME, BEAST, Lucky 13, and SSLStrip. While none of the attacks have completely undermined the security afforded by HTTPS, they highlight the fragility of the two-decade-old SSL and TLS protocols. The latest attack has been dubbed BREACH, short for Browser Reconnaissance and Exfiltration via Adaptive Compression of Hypertext.
As its name suggests, BREACH works by targeting the data compression that just about every website uses to conserve bandwidth. Based on the standard Deflate algorithm, HTTP compression works by eliminating repetitions in strings of text. Rather than iterating "abcd" four times in a chunk of data, for instance, compression will store the string "abcd" only once and then use space-saving "pointers" that indicate where the remaining three instances of the identical pattern are found. By reducing the number of bytes sent over a connection, compression can significantly speed up the time required for a message to be received. In general, the more repetitions of identical strings found in a data stream, the more potential there will be for compression to reduce the overall size.
Using what's known as an oracle technique, attackers can use compression to gain crucial clues about the contents of an encrypted message. That's because many forms of encryption—including those found in HTTPS—do little or nothing to stop attackers from seeing the size of the encrypted payload. Compression oracle techniques are particularly effective at ferreting out small chunks of text in the encrypted data stream.
BREACH plucks out targeted text strings from an encrypted response by guessing specific characters and including them in probe requests sent back to the targeted Web service. The attack then compares the byte length of the guess to the original response. When the guess contains the precise combination of characters found in the original response, it will generally result in a payload that's smaller than those produced by incorrect guesses. Because deflate compression stores the repetitive strings without significantly increasing the size of the payload, correct guesses will result in encrypted messages that are smaller than those produced by incorrect guesses.
On how an Oracle attack works
The first thing an attacker using BREACH might do to retrieve an encrypted e-mail address is guess the @ sign and Internet domain immediately to its right. If guesses such as "@arstechnica.com" and "@dangoodin.com" result in encrypted messages that are larger than the request/response pair without this payload, the attacker knows those addresses aren't included in the targeted response body. Conversely, if compressing "@example.com" against the encrypted address results in no length increase, the attacker will have a high degree of confidence that the string is part of the address he or she is trying to extract. From there, attackers can guess the string to the left of the @ sign character by character.
Assuming the encrypted address was email@example.com, guesses of firstname.lastname@example.com, firstname.lastname@example.com, firstname.lastname@example.com, and firstname.lastname@example.com would cause the encrypted message to grow. But when the attacker guesses firstname.lastname@example.com, it would result in no appreciable increase, since that string is included in the targeted message. The attacker would then repeat the same process to recover the remainder of the e-mail address, character by character, moving right to left.
The technique can be used to extract other types of encrypted text included in Web responses. If the site being targeted sends special tokens designed to prevent so-called cross-site request forgery attacks, the credential will almost always contain the same format—such as "request_token=" followed by a long text string such as"bb63e4ba67e24d6b81ed425c5a95b7a2"—each time it's sent. The compression oracle attack can be used to guess this secret string.
An attacker would begin by adding the text "request_token=a" to the text of the encrypted page being targeted and send it in a probe request to the Web server. Since the size of the encrypted payload grows, it would be obvious this guess is wrong. By contrast, adding "request_token=b" to the page wouldn't result in any appreciable increase in length, giving the attacker a strong clue that the first character following the equal sign is b. The attacker would use the same technique to guess each remaining character, one at a time, moving left to right.
Most attacks that use the BREACH technique can be completed by making only a "few thousand" requests to the targeted Web service, in about 30 seconds with optimal network conditions and small secrets, and in minutes to an hour for more advanced secrets.
BREACH, which was devised by Gluck along with researchers Neal Harris and Angelo Prado, builds off the breakthrough CRIME attack researchers Juliano Rizzo and Thai Duong demonstrated last September. Short for Compression Ratio Info-leak Made Easy, CRIME also exploited the compression in encrypted Web requests to ferret out the plaintext of authentication cookies used to access private user accounts. The research resulted in the suspension of TLS compression and the temporary disabling of an open networking compression protocol known as SPDY until it could be modified. BREACH, by contrast, targets the much more widely used HTTP compression that virtually all websites use when sending responses to end users. It works only against data sent in responses by the website.
"If you go to the Wikipedia page or any of the specialized security pages, they will tell you that CRIME is mitigated as of today and is no longer an interesting attack and nobody cares about it," Prado said. "So we are bringing it back and making it work better, faster in a different context."
The good news concerning BREACH is that it works only against certain types of data included in Web responses and then only when an attacker has succeeded in forcing the victim to visit a malicious link. Still, anytime an attacker can extract sensitive data shielded by one of the world's most widely used encryption schemes it's a big deal, particularly as concerns rise about NSA surveillance programs. Making matters more unsettling, there are no easy ways to mitigate the damage BREACH can do. Unlike TLS compression and SPDY, HTTP compression is an essential technology that can't be replaced or discarded without inflicting considerable pain on both website operators and end users.
At their Black Hat demo, the researchers will release a collection of tools that will help developers assess how vulnerable their applications and online services are to BREACH attacks. Most mitigations will be application-specific. In other cases, the attacks may give rise to new "best practices" advice on how to avoid including certain types of sensitive data in encrypted Web responses. Most websites already list only the last four digits of a customer's credit card number; BREACH may force websites to truncate other sensitive strings as well.
"We expect that it could be leveraged in particular situations, maybe with an intelligence agency, or maybe an individual actor or a malicious crime organization might use this in a targeted scenario," Prado said. "Any malware writer today has the ability to do something like this if they have not been doing it already."
Article updated to correct statement that SPDY was suspended. It was temporarily disabled until it could be modified.


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Lit Snowfall Downswept Tree Grove
Lit Snowfall Downswept Tree Grove
Tabletop Tree
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Please note that all tree heights indicated on our website include the tree stand. If you want the tallest Christmas tree your room will allow, we recommend buying a tree that is six inches shorter than your ceiling height to allow some clearance for a tree topper. For example, if you have a standard 8 - 9 foot ceiling, we would suggest a 7½ foot tree. Here are some more tips:
Under 6 feet trees Best for tabletops or secondary spaces like kitchens or dens
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We offer artificial trees in a wide variety of shapes, from traditional full-width trees to space-saving slim trees and flatbacks. When choosing your tree, we suggest that you consider the diameter (in the Shape description, this might be described as Full 40") of the Christmas tree to help you choose the perfect tree for your space. This measurement is taken at the very widest point of the tree. If you plan to have a few branches touching a wall or a piece of furniture, the true space occupied by the tree will be about six inches less than the stated diameter.
Regular (Full) Trees Our most popular choice because of their lush profiles and sturdy branches.
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Balsam Hill's designers carefully craft our trees to mimic nature using site visits and cutting from live trees to guide them. We offer three types of foliage options that are made from either PE or PVC material. While some trees use one type of foliage exclusively, others may use mix of foliage types to achieve a particular look. The specific mix is specified on each product detail page in the section that describes the tree's foliage.
True Needle™ Technology Balsam Hill's exclusive True Needle&tade; evergreen foliage is used to create our most realistic and luxurious artificial Christmas trees. This ultrarealistic foliage is created with injection-molded PE plastic and several different colors of pigment to mimic the structure, texture, and color of natural evergreen needles. A unique feature of True Needle™ foliage is the color variations within the branches. For example, the branch might be a brown/green while the needles start off a dark green and slowly fade to a lighter green.
Classic Needles Balsam Hill's Classic Needle foliage has soft, flat and flexible needles with a more classic artificial look. These needles are made from thin sheets of PVC that are cut into fine strands to resemble evergreen needles. We use these resilient, flexible needles as the primary foliage of many of the trees in our very affordable Traditional trees. It is also used as filler for most of our Realistic and Most Realistic Christmas trees because of its superior ability to block light and create a "full" look for the tree.
Pine Needles The PVC pine needles used by Balsam Hill® are specially designed to mimic the size and texture of long, thin needles of a pine tree. These needles even have the rigid texture of real pine needles. If you roll them between your thumb and finger, you will feel the ridges.
If you long for the beautiful glow of lights on your tree but dread untangling the wires, Balsam Hill's pre-lit Christmas trees are the answer. All of our lights are UL® approved and professionaly strung on the tree by hand to minimize the appearance of wires. Each of our pre-lit trees for indoor use come with premium commercial grade lights so that if one bulb burns out or is removed, the rest stay lit. We have a wide variety of pre-lit lighting options to suit every decorating need.
Color+Clear™ Lights Our exclusive Color + Clear™ remote-controlled lighting system is available in both incandescent and energy-saving LED. The handy remote lets you choose clear lights, multi-colored lights, or both. With more than 50% additional lights, your tree will still have plenty of beautiful lights even if only one light type is selected. If you choose both clear and colored lights, your tree will display more lights than any other artificial tree you will find.
Clear Lights Enjoy the timeless look of clear lights. Our most popular style of pre-lit tree, clear lights give you the mose flexibility in your decorating, and the ability to change your look from year to year.
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Complete your country cabin theme with a mini forest of snowy trees. Display on your mantel or sideboard for added holiday charm.
- Crafted and painted by hand from cotton, wood, and realistic foliage
- Measures 20.5" long x 5.5" wide x 27.5" high
- Pre-lit with warm white LED lights
- Requires 3 AA batteries; not included
- Includes a built-in timer; 6 hours on, 18 hours off
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Our self-adhesive Wallpapers are a great solution for those who want to achieve spectacular interior metamorphosis with minimal effort! You can renovate your apartment or office very quickly, without the need to hire workers or purchase a variety of accessories. Properly selected wall mural can create the impression of more space and a wide range of sizes and patterns will satisfy the taste of even the most demanding customers.
Self-adhesive wallpapers are a versatile product. They can be used on the entire wall surface or only on a small part, e.g. on partition walls, bar, kitchen island and even ... on furniture, as our self-adhesive photo wallpapers can also be used as a furniture decoration. With so many possibilities of use, you can enjoy your favorite design in the whole apartment, on different surfaces!
The highest quality printing!
The self-adhesive wallpaper "Self-adhesive Wallpaper - Sentimental Garden (Colourful)" is printed with HD technology up to 600 dpi, making colors vivid and details sharp regardless of the size of the wallpapers. The print is applied to a self-adhesive foil with a matt surface of 50 g / m². Both the material and the print itself are waterproof and UV-resistant, so colors don't fade even after long exposure to sunlight.
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The self-adhesive mural is made of safe, odorless materials, so it can be used in any room, including your and your child's bedroom.
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Before mounting, make sure that the surface (wall, furniture) is properly prepared, degreased, free from unevenness, dust, paint residue, etc. Stick the photo paper on the strips, gradually removing the protective foil from the top and removing any air bubbles that may be formed. Quickly, easily, without any worries. Disassembly is just as easy!
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In our offer you will find many suggestions that will appeal to both lovers of modern style and traditionalists. Self-adhesive wallpapers can decorate every room, not only the living room or bedroom, but also the kitchen or bathroom. However, be careful not to put them in places with high humidity or in direct contact with water.
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What is the appropriate method for storing wine?
If wine doesn't sit around long in your house, you don't worry about storing it. But maybe you want to take advantage of your wine shop's cheaper-by-the-case policy, or you've come into a few bottles of good wine that need aging. If so, it's time to make some decisions about storing your wine.
First, you have to understand what you are trying to accomplish. How much and what type of wine are you going to store? Where are you going to store it? How often do you buy wine? How often do you drink wine?
Careful storage will be rewarded with a better wine when it is finally opened.
Temperature, light, humidity and vibration all affect how a bottle of wine matures. The longer a bottle is kept, the more impact those factors will have.
Storing at too cool a temperature will retard maturing, while storing at too warm a temperature will accelerate it. Keeping the temperature consistent is also critical. Changing the temp levels will affect the wine's aging process.
Long-term exposure to light can accelerate aging and even damage the wine.
Humidity comes into play in keeping the cork moist. Too dry an environment will dry and shrink the cork, permitting air to seep into the bottle.>
Bottles shouldn't be disturbed in any way as they age. Vibration interferes with the biochemical process of aging.
You should consider all four of these factors when choosing the appropriate method for storing your wine.
Start by storing wine on its side. Except for screw-cap bottles, which can be kept upright, this benefits any wine, whether you drink it soon or hold onto it for years.
Bottles should be stored or stacked on their side to keep the cork moist, thus fully swollen and airtight, avoiding oxidation
To reduce vibration and to secure bottles on their sides, even a casual wine drinker may want to invest in a wine rack. Wine racks can be small and simple or large and elaborate. The size should depend on how many bottles you intend to store, as well as where the rack will sit. Keeping bottles in a wine rack in a shadowy corner of the den or in a closet is fine for a few weeks, but bottles stored long term need temperatures that are cool and consistent.
Wine should be stored between 53 and 57 degrees Fahrenheit In some areas of the country this can be achieved by storing bottles in a cool, dark basement. In Florida, though, that means refrigeration. Wines need to rest peacefully and that can't happen in an environment that is constantly being disturbed. The best solution is a refrigerator engineered specifically for storing wine.
Aaron Zimmerman
[Mr Zimmerman owns and operates Liquors Galore, 1418 Avenue J (between 12th and 13th Streets); Brooklyn, NY 11230-3702; Telephone: 718.338.4166. The above post is part of a multi-part series we'll be posting once a week on these pages]
Enjoying your Wines – Part 2 – Tasting


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Hand-made by euna designer, underglaze painting, lily of the valley folding edge plate
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24cm wide and 3.5cm high
Product description:
Euna designer hand-made underglaze painted lily of the valley folding edge plate.
Scope of application.
l Porcelain tableware: microwave/oven/dishwasher/low temperature resistant
l Glassware (cups/bowls/plates): dishwasher safe
l Metal cutlery (knives/forks/spoons): dishwasher safe
l Glassware: all hand-blown, bubbles, streamers and other hand-made traces are inevitable, even non-defective models, but also not perfect! This is also the essential difference with the mechanism of glass.
Maintenance advice.
1, household dishes can be rinsed off with water after cleaning with a disinfectant detergent.
2、For long term use, please use a soft cloth for cleaning, not metal brushes or other cleaning.
3、If there are slight scratches in use, you can use toothpaste to gently polish and repair them.
1, handmade products, there may be small local concave holes, bubbles or small black spots, etc., for the normal process phenomenon, does not affect the use.
2、The colour of the product may vary according to the production batch.
3, products are photographed in kind, due to light angle and other objective factors caused by a certain degree of colour difference, please understand.
1、Glass: safe, lead-free and cadmium-free raw materials are fired in high-temperature furnaces for safety and health.
2、Ceramic: refined clay is first plain fired at 800℃ and then glazed at a high temperature ranging from 1300 to 1400℃ after painting. It is a high-temperature secondary firing of healthy ceramics, and has been tested in multiple trial firings, with no detectable harmful substances such as lead and cadmium, making it safer to come into contact with food.
3、Five quality checks: Each of our products undergoes five strict quality control procedures before leaving the factory, namely raw material quality control, process quality control, finished product quality control, storage quality control and factory quality control, to ensure that the quality of the products you receive meets our standards.
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Front Runners List: Click to see list completion progress by climbers that log their climbs using Peakbagger.com.
Compare Climbers: Click to compare ascents of up to 5 climbers working on this list.
Important: This list show the highest points of the counties that the Continental Divide traverses. Note that many of these summits are not on or near the divide; often it does not go over or near the highest point in a county.
= Peak with Rank #1 on List;   = Other Peaks
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Which alternative therapies have been studied for pregnancy, birthing, and related conditions? Which, if any, herbs and supplements are safe to take during pregnancy? Our alternative medicine content shows you the options, and gives you the information you need to make informed decisions.
Physicians and pharmacologists write and review the alternative health information provided here. It is objective and evidence-based, and fully referenced and footnoted.


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Harlow, Crawford and Bennett!
Dorothy Mackaill in Safe in Hell.
Peggy Cummins in Gun Crazy.
Joan Crawford: one of pre-Code and film noir's most awesome divas!
Dangerous Dan Duryea
Norma Shearer: She was made for pre-Code.
The lovely Carole Lombard
Robert Montgomery: Pre-Code Essential.
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Don't mess with Robert Mitchum.
Stanwyck: Indescribable. Undefinable.
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Tagged: Mark Teahen
2010 Forecasts: AL Central
Having picked Tampa Bay to upend the Yankees in the East, we move to the AL Central.
I'm less
confident about assessing CHICAGO than I am about any other team in the majors.
Here is a team with the terrific burgeoning talent of Gordon Beckham and Carlos
Quentin – yet its success will depend much more on virtual castoffs like Andruw
Jones, Juan Pierre, Alex Rios, and Mark Teahen. Here, if Jake Peavy rebounds,
is a four-man rotation as good as any in the game, but a bullpen where only one
guy (Matt Thornton)
does not start
the season as a question mark (how could you possibly get as many ex-studs in
one place as Kenny Williams has in Scott Linebrink, J.J. Putz, and Tony Pena?). The White Sox could
easily win the division, but I would hesitate to bet on it.
scratches their head at the quick demise in CLEVELAND – except I appear to be
the only one who's doing the scratching in surprise that everybody else is so
confused. What do you suppose happens to a team that is just one game from going to the World
Series, and then fire-sales Cy Young Award winners in consecutive season – and also
gets rid of their
catcher (who just happens to be the second-best offensive weapon at his
position in the game)? While the Indians may see some pay-off from these deals
this year (LaPorta at first, Masterson pitching, and, at least for the moment,
Marson catching), there is no reason to assume that the Indians have simply
corrected a temporary two-year blip. It is plausible that returns to form from
Fausto Carmona, Grady Sizemore, and Travis Hafner could propel this team to the
flag, but it is just as plausible that the bullpen will again be its undoing.
Remember, this is a team that has not had a reliable closer since Joe Borowski
in '07 (and this requires you to believe that Joe Borowski was a reliable
closer). There is the one wildest of wild cards: the chance that the Kerry Wood
injury is the ultimate blessing in disguise – that it shelves Wood and his
not-so-awe-inspiring 20 saves of a year ago and forces Chris Perez to live up
to his talent. Of course as Winston Churchill answered that clich� 65 years ago,
"if it is a blessing in disguise, it's very effectively disguised."
What if
Dontrelle Willis really is back? What if Miguel Cabrera's career flashed before
his eyes over the winter? What if Scott Sizemore and Austin Jackson are actual
major leaguers? If Jim Leyland and Dave Dombrowski come up trumps with those
four names, DETROIT should walk away with the division, because the rotation
seems outstanding, and the Tigers may have created its best bullpen (mostly by
default, and even though they're about to find out what the Yankees did late
last year: Phil Coke can't really get good lefties out). There are reasons to
suspect Johnny Damon will not be the kind of all-purpose threat he'd developed
into in the Bronx; 17 of his 24 homers in 2009 were hit at Yankee Stadium. It's
possible Ryan Raburn or Wilkin Ramirez might have to be rushed into the
line-up. Then again it's possible Alex Avila may force himself into it, behind
the plate.
When the
A's still played there KANSAS CITY was the club on whom the Yankees palmed off
the guys they didn't want any more. Funny that this year's Royals start Chris
Getz and Scott Podsednik, and have Josh Fields on the
bench and Brian Anderson in the convert-to-pitching Skinner Box. The excuse that the Royals are the quintessential victim of the small market/big
market divide is nonsense: according to the Forbes figure filberts, the Royals
profit about ten million a year, gain at least thirty million more from revenue
sharing, and the franchise is worth three times what David Glass paid for it a
decade ago. So the free agents brought in to surround the American League's
best starter, second or third best closer, fifth or sixth best first baseman,
and third or fourth best DH – are Rick Ankiel and Jason Kendall? It's pitiable:
with a little investment from management the Royals could contend in this
Ron Gardenhire of MINNESOTA knows 447 times more about baseball than I do. But
there is one fact that has been irrefutable since Tony LaRussa began to use
relievers on schedule, rather than when needed: Bullpen By Committee Does Not
Work. Gardy steered out of the skid just in time last night, designating Jon Rauch as his closer after weeks of saying he'd try the committee route. Do not be fooled by
reminiscences of the "Nasty Boys" – the 1990 Reds had 50 saves, 31 by Randy
Myers, 11 by Rob Dibble, 4 by Rick Mahler, 2 by Tim Layana, and 2 by Norm
Charlton. The Reds would trade Myers within a year and Charlton within two.
Minnesota's committee could have been Jeff Reardon, Rick Aguilera, Eddie Guardado, and
Al Worthington, and it still wouldn't have worked. There are reasons to fear this team might not be competitive –
the tremendous home field advantage that was the Metrodome is gone (although
depending on how the wind current works – see "Yankee Stadium, 2009" – it could
turn Joe Mauer into a 50-homer man). The new double-play combo is also symbolic
of some serious problems. It is made up of two very nice men named J.J. Hardy
(who was run out of Milwaukee even before the ascent of Alcides Escobar), and
Orlando Hudson (who has been run out of Arizona and Los Angeles and who somehow
lost his job to Ronnie Belliard in the middle of the pennant race last
year). It is also
the direct result of what must be viewed as two disastrous trades (Jason
Bartlett and Matt Garza to Tampa for Delmon Young, and Johan Santana to the
Mets for Carlos Gomez – now swapped for Hardy – and nothing of even impending
value). Nothing would please me more than to see the Team They Tried To
Contract rear up and fulfill its potential. I don't think they have the front
office personnel to pull it off.
I like Detroit to get more lemons out of the slot machine of chance that is
this division, than I do Chicago. Thus, the Tigers, close, over the White Sox.
Minnesota and Cleveland will spar for third place and whether the Twins get it
will largely depend on how Target Field "plays" as a new home. Kansas City is
last again, which offends me, because there is as little excuse for this
perpetual state of suspended animation as there would be in Cincinnati or
Milwaukee or maybe even Denver and Tampa.


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Margaret, can we – the American People – finally have a rational conversation about gun control?
It was an elementary school this time – an elementary school with children the same age as my grandchildren. I can hardly bear it. Those poor precious children…
Is the insanity of this enough for us to finally kick the militia morons to the curb and have an intelligent conversation about the real reason for the Second Amendment?
Yes. I know. Guns do not kill people. People using guns kill people. The same can be said about tanks.
I have no doubt that in the coming days we will learn that no laws or gun control of any kind could have prevented this tragedy. There are millions of guns already out there and new gun control laws won't do anything about that… bad people can always find a way to get a gun. Most gun owners are responsible people who have legitimate reasons to own a gun. So there's nothing we can do, right?
Bullshit. Not doing anything is not the answer. It's the problem. I refuse to believe that hunters and responsible gun owners can't have a meaningful conversation about better gun laws with citizens who do not wish to own guns.
We are already hearing about the mental instability of the shooter – a child himself. And there will be meaningful conversation about the lack of good mental health policies and how that was the cause of all this and not gun control laws. Everyone can agree that mental illness, just like any illness, should not go untreated. So where is the disconnect? Why are conversations about mental illness and gun control mutually exclusive? Please Dear God if Republicans and Democrats can ever come together about something, this must be it. And for those of you who think now is not the time to talk about gun laws, I wholeheartedly agree. That conversation should have happened long ago. And it definitely should have happened before 20 precious children lost their lives.
It doesn't matter what type of gun was used. It doesn't matter if that gun was obtained illegally or legally. It doesn't matter if the person was mentally unstable or just plain evil. What matters is that the most powerful country on the globe must have an intelligent conversation about the manufacturing, sale and ownership of guns without someone screaming nonsense about the 2nd Amendment.
Guns do not kill people. They make it easier to kill people. There are 314 million Americans and we own almost 300 million guns. That is the very definition of mental illness. I mean it. Really.


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Designer Gold Plated Double Side Strand Maang tikka With Round CZ Crystal Stones For Women
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For all orders above Rs.499, Oyeshop charges no extra amount. We charge shipping of Rs.60 on all orders below Rs.499.
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No, on all cash on delivery orders, no amount is charged apart from the shipping charges. We offer free cash on delivery
What is the estimated delivery time?
Oyeshop uses top courier companies like Aramex, Delhivery, Bluedart, Ecom and DTDC for the delivery of the order. It takes 5-6 business days to deliver an order all over India by Oyeshop. While most items are delivered in 5-7 days, there are a few designs that may be delivered in 7-10 days.
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We send all packages via reputed couriers such as Blue Dart, First Flight, Delhivery, DTDC etc.
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To start a return, you can contact us at email@example.com and +91-9811228262. If your return is accepted, we'll send you a return shipping label, as well as for instructions on how and where to send your package. Items sent back to us without first requesting a return will not be accepted.
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Give your fashion game another dimension with exquisitely crafted voguish maang tikka. The designer piece is symmetrically adorned with brownstones. The side chains perfectly blend with the centerpiece of the maang tikka. The golden base polish adds a gleaming touch to the matha Patti. This sophisticated piece of jewelry is a must-have in your collection. Oyseshop is known for its premium quality and durability. So stop waiting and buy this trendy accessory to amp up your style quotient.
- Theme: Celebration
- Colour: White
- Material: Alloy
- Sale: 1 Maang Tikka
- Design: Stone
- Plating: Golden
- Surface Finish: Golden
Here are some tips to take care of your Fashion Jewellery-
- Keep all different kinds of jewellery separately.
- Keep your jewellery in a ziplock or airtight bags to protect them to tarnish.
- Keep Silver Oxidised Ganesh and Peacock Design Pendant Set For Womenjewellery away from sunlight because it dulls the gemstone colours.
- Make sure to wipe your ajewellery every time after use wearing it to avoid dust or dirt.
- Don't use toothpaste to clean your jewellery because it's caused damage in long run.
- To maintain the original shine of jewellery avoid harsh cleaning through which jewellery may lose its original shine.
- Never wear jewellery while swimming or bathing. This damages the originality of beads or stones and also increases the risk of jewellery loss.
- Always apply lotion, perfumes, and other cosmetics products before jewellery so that they don't damage the shine of beads or stones.
- Don't wear handmade jewellery while cleaning with harsh chemicals.


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In a real sense, everything is quantum mechanical: matter and interactions are governed by the rules of quantum physics. True, we haven't figured out how gravity fits in yet, but the structure of atoms, nuclei, molecules, and solids—along with the characteristics of light—are best described by quantum mechanics. However, we don't need to take the unique features of quantum mechanics into consideration when modeling many systems, including most in chemistry or biology.
Nevertheless, it is possible life has evolved to exploit some quantum phenomena, including coherence and tunneling. In a new Nature Physics review article, Neill Lambert and colleagues examined the evidence in favor of quantum biological phenomena in photosynthesis, photoreception, magnetic sensation, and even our sense of smell. They conclude that the evidence is ambiguous: compared with other biochemical processes, any uniquely quantum influences appear small.
For something to be considered fully quantum, the researchers used the criterion that it could not be fully described using heuristic models. (The authors refer to such heuristic depictions as "classical." Though that's common, it's also misleading: talking about chemical bonds, electron transport, and the like isn't exactly the language of classical, Newtonian physics.) By contrast, quantum mechanics requires the use of the quantum state, the physical and mathematical description of a system that encodes the probability of the outcomes of measurements.
These states may be superpositions: combinations of mutually exclusive measurement outcomes, such as perpendicular polarizations of light, or spin orientations of electrons in atoms. Quantum information and computing are based on the preparation, manipulation, and entanglement of quantum states, but these generally require special conditions, including far lower temperatures than organisms can withstand. The present paper concerned itself with examining if life can get around those problems, exploiting quantum physics for evolutionary gain.
Tracing back along the food web, most of the energy organisms need to survive originates with the Sun. Green plants, cyanobacteria (also known as blue-green algae), and other organisms capture photons and use them to drive the chemical reactions of metabolism. Photosynthesis is incredibly efficient: nearly 100 percent of the energy from the photons absorbed by the photosynthetic machinery is transferred to the chemical reaction center.
A set of chemistry experiments that began in 2007 showed that this efficiency may be due to quantum mechanics. The data demonstrated coherence between the electrons in the various pigment molecules during the transfer process, meaning that the states of the electrons were coordinated and they acted as a single system, even though they resided in different atoms. The clearest results were obtained at 77 Kelvin, but follow-up experiments showed the coherence could also be present at room temperature. Additionally, complicated theoretical models of the energy transport process seem to support the hypothesis that coherence plays a role in photosynthesis.
At the present time, no one has observed quantum coherence in a living organism. Additionally, it's not clear whether the boost that should come from exploiting quantum states would be sufficient to explain the efficiency of photosynthesis. After all, it's one thing to observe this phenomenon under lab conditions, it's another to demonstrate it in a living organism, and yet another to show that quantum coherence is the reason for the remarkable efficiency. Finally, as always in evolution, it's important to remember that a particular feature may be adaptive but may have evolved for other reasons: perhaps efficient photosynthesis was the side effect of some other adaptation.
However, if coherence can be shown to exist in these biological systems at room temperature, then it's worth asking why it's there and how it might provide an evolutionary advantage. One possible explanation is that each pigment molecule experiences a lot of "noise," or random jiggling inside the cell. By exploiting quantum coherence, these random fluctuations can be canceled out during the electron transfer, meaning fewer photons are lost to photosynthesis.
Magnetic navigation in birds
Many migratory species use Earth's magnetic field for navigation, including a number of birds. Our understanding of how animals sense magnetic fields—magnetoreception—is still lacking some details, and not all species appear to use the same mechanisms. The authors of the review noted that European robins, along with a handful of other species, seem to navigate using photoreceptors: cells in the retina that measure light intensity. The behavior of these cells can be disrupted using magnetic fields, suggesting there may be a dual dependence on light and magnetism for navigation.
The photoreceptors contain radical pairs: two molecules bound to each other that have single electrons in their outer layers. When they are correlated, the spins of these electrons form a state similar to one used in quantum information theory and computing.
In the radical pair model of magnetic navigation, an incoming photon induces one of the electrons to undergo a transition between quantum states. Since it is correlated with the other electron, this induces a second transition, which sends a signal through the bird's nervous system. Since the spin states are sensitive to external magnetic fields (useful for navigation), they can also be disrupted by laboratory fields.
Even though the radical pair concept would explain all the aspects of navigation in some species, there's a major problem with this model. As the review points out, coherence between the electrons' states would need to be sustained for a relatively long time—longer than any current lab experiments have achieved. The very advantage of the model may end up making it untenable, unless researchers can figure out how the photoreceptor cells stabilize the quantum states for extended periods.
Tunneling our senses
A less finicky phenomenon based on quantum states is tunneling, the process by which a particle (or some more abstract quantum system) can pass through a barrier between states—a transition that would be forbidden in classical terms. Tunneling is used in many applications, including some types of diodes, where electrons pass from one side of a junction to another. Certain chemical reactions in biology appear to depend on the tunneling of electrons or protons over distances equivalent to dozens of atoms.
Experiments indicate that tunneling plays a part in photosynthesis and certain enzyme interactions, including possibly the sense of smell. In that case, it's not simply the size and shape of the molecules we perceive as odorants that trigger a smell: it's also the transfer of an electron from the odorant to the receptor in the nose via tunneling.
Finally, the authors discussed the possibility that photoreceptor cells used to sense light could depend on quantum coherence. In this scenario, light triggers a very rapid molecular change in a protein-linked molecule in the retina, which then induces a secondary change in a protein. The speed and efficiency of these processes hints at a possible underlying quantum effect, but experimental evidence to support this has not been obtained yet.
An intriguing aspect of all of these possibilities is that perhaps evolution has figured out a better way of performing tricky quantum manipulations than we have. In a sense, that's not surprising: life has had a long time to evolve photosynthesis, photoreception, and navigation, while our understanding of quantum mechanics just began in the 1920s and '30s.
It may also turn out that the phenomena described above don't really rely heavily on the quantum state after all, since evidence is sketchy at present. Nevertheless, the hints are there: we may be at the point where we can test if life has solved the problem of manipulating quantum states, meaning quantum biology could be a new field of study in this century.
Nature Physics, 2012. DOI: 10.1038/nphys2474 (About DOIs).


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The Nationals are seeking a tête-à-tête between racing president Teddy Roosevelt and Barack Obama, as Arizona Senator John McCain calls Teddy's losing streak a "vast left-wing conspiracy being organized by pinko commie liberals," according to Saturday's Wall Street Journal.
The front page story by diplomatic correspondent Neil King, Jr. caps a week in which the Let Teddy Win movement has become national news, following an ESPN profile by Ken Burns and a White House statement in support of the cause.
King's profile revisits the outrage expressed by McCain and White House spokesman Jay Carney over Teddy's losing streak, adding additional perspectives from Roosevelt biographer Edmund Morris, and from Teddy's great great grandson Kermit Roosevelt.
"I find this whole thing extraordinarily unfunny," Morris tells the Journal.
"Teddy would have physically dominated any of those guys," adds Roosevelt, who turns out to be a Phillies fan, and believes in a curse. "The Nationals will not win the World Series until Teddy wins the presidents' race," he said.
The Let Teddy Win blog gets a few nods as well, and the online story features a compilation of our race videos taken by longtime blog contributor lfahome:


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Guest Opinion: Evidently, freedom isn't for everyone
George H.W. Bush was not known as a spell-binding speaker, but he did get off some really good lines in some of his speeches. In his 1989 inaugural address he said, "The day of the dictator is over. We know what works: Freedom works. We know what's right: Freedom is right."
It would seem that when those words were spoken in 1989 they were true beyond argument. The former Soviet Union was no more. The Cold War was over. All around the world people seemed to want the same things: democracy, free trade, free speech, freedom of conscience, freedom from want, freedom from dictators.
Unfortunately, here we are a quarter of a century later and the dictators are back. We experienced what the media called the "Arab Spring" where the theocracies of Egypt and Tunisia went through major revolutions, and other Mideast countries seemed to be leaning that way as well. Now all seem to have swung back in the other direction. That is also true in Hungary, Turkey and Pakistan, where each experimented with free elections for a time. All are now clearly back in the dictator's column today. And Russia has been holding free elections since the late 1990s. But Vladimir Putin served as president from 2000-2008, as prime minister from 2008 to 2012 and as president again from 2012 until now. Is there any doubt that Putin is a dictator with a different title? So what in the name of freedom is going on?
Let's admit that democracy is hard to create in a country where it hasn't existed. Education for all and a free press are basic building blocks of a democracy, which are lacking in the countries listed above. If you study each of those countries, you will find either a "controlled" media, a poor or non-existent education system, or both.
Also, we should admit that we view ourselves as the shining democratic example, the city on a hill, so to speak, and we haven't been beacons of stability and progress in recent years. It has been hard for those unfortunate populations to look at us and envision our approach to governance as an improvement for their countries.
If we want others to follow our example, we need to get our house in order and become that shining beacon. We need to model freedom and a free society living together in peace and prosperity. How long will that take? How long can the world wait? How long will we tolerate the mediocrity we are slipping toward? Answering these questions is key for our future and for the world that is watching us.
Dr. Mark L. Hopkins writes for More Content Now and Scripps Newspapers. He is past president of colleges and universities in four states and currently serves as executive director of a higher-education consulting service. Contact him at firstname.lastname@example.com.


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Although today is a Ta'anit Esther – The Fast of Esther and observant Jews around the world are fasting, we also prepare for Sunday's Purim feast. While looking for inspiration around the web, I came across the following (superb!) holy day recipes on famed Chef Laura Frankel's blog:
I like hamantashen and certainly have eaten my fill of the tender cakey treats. Don't get me wrong. They are delicious and fun to make. But, they are safe and not at all sexy. So, this year-I want some excitement on Purim. I think I am just tired of winter, the economy and bad news. Time for FUN! Get out your martini shakers, groggers and whatever else you need to put on a splashy and delicious Purim Feast. For dessert-I recommend you pull out those nice hamantashen or do like the Persians and serve dried fruit, nuts and fresh citrus.
All of the recipes can be prepped ahead of time, leaving you lots of time to get your Esther or Mordechai on. Have a Freylich Purim!
Blood Orange Martini
It is scary how tasty these martinis are-like you could easily get into trouble with a pitcher of these scary! Oh well, Haman-Mordechai…whatever! just have fun
1 ½ ounces vodka
2 ounces blood orange juice
½ ounce simple syrup
Squeeze of fresh lime juice
1. Shake together and serve. Garnish with blood oranges slices and pomegranate seeds
Persian Meatballs (Kufteh)
This is a great dish for the end of winter. Serve this for Purim as a first course or as part of a Purim feast! Traditionally, the meatballs would not be browned before being poached. As a chef, I think the caramelized crust on the meatballs is essential and gives a great texture and more pronounced flavor. You can opt to do it either way.
2 cups cooked basmati rice
1 cup cooked yellow split peas
1 pound ground chicken, turkey or beef
½ cup finely chopped fresh dill
½ cup chopped fresh flat leaf parsley
1 cup chopped scallions
2 cloves garlic-chopped
2 large red onions-peeled and chopped
2 eggs-lightly beaten
2 teaspoons ground coriander
1 teaspoon ground cumin seed
2 teaspoons ground cinnamon
½ teaspoon ground cardamom
1. Place all the ingredients in a large bowl. Using your hands, mix the ingredients together until well combined. Do not over mix as the mixture will be too tight and tough. Salt and pepper the mixture (I like to take a small amount and fry it to taste if the seasoning is correct).
2. Lightly, shape the meat balls with your hands.(I find that wetting my hands with cold water and using a rolling motion keeps them from getting too packed and tight.) You can store the meatballs at this point covered in the refrigerator for 2 days or freeze them for 1 month.
3. Place a large sauté pan over medium heat. Lightly coat the pan with olive oil. Brown the meatballs in batches. Remove form the pan and drain on paper towels.
For the poaching liquid
1 16-oz can of canned tomatoes with their juices
2 cups of chicken stock
1 teaspoon saffron threads
Juice and zest of 1 orange
Juice and zest 1 lemon
Salt and pepper
Bring the poaching liquid ingredients to simmer in a large saucepan. Place the meatballs in the pan. Gently poach them until cooked through. Do not stir the pan as the meatballs will break apart.
Basmati Rice
This is a show stopper for any buffet or dinner. The crispy crust on the rice tastes a little bit like popcorn. It is easy to make ahead and can be reheated in the pan in a low oven.
2 quarts water
2 tablespoons salt
1 1/2 cups Basmati rice
3 tablespoons olive oil
1. In a large saucepan bring water with salt to a boil. Add rice and boil 10 minutes. In a colander drain rice and rinse under warm water.
2. Place a 3 quart sauce pan over medium heat. Coat the bottom with olive oil. Spoon rice into the pan, cover pan with a kitchen towel and a heavy lid. Fold edges of towel up over lid and cook rice over moderately low heat until a golden brown crust forms, about 30 to 35 minutes. Invert the pan onto a serving platter. Garnish with pomegranate seeds and blood orange sections.
According to The Jew And The Carrot website, Chef Laura is currently Executive Chef and head of food services at the Wolfgang Puck Kosher Catering and café at the Spertus Institute for Jewish studies in Chicago. She is the former chef and founder of the Shallots restaurants. Mrs. Frankel has training and extensive experience in both savory and pastry kitchens. Before committing herself to her culinary passion, she played both alto and baritone saxophones. She taught and played professionally. She is the author of Jewish Cooking For All Seasons and Jewish Slow Cooker Recipes.
Chef Laura will be giving a Kosher Food Demo at De Gustibus (on the 8th floor of Macy's) on the upcoming 16th of March.
I've eaten many times at Shallots when it used to be located in Manhattan at the atrium of the SONY building's where Solo is now situated. I definitely can vouch for her succulent creations!!!


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Author's Permission Guidelines
As Author, you have responsibility to secure permissions that may be needed to reproduce material created by other people, including images and text quotations. It may also be necessary for you to request permission to reprint your own previously published work, even if you are revising it for a University of Chicago Press publication.
No editing or production work will begin on your manuscript until you have supplied licenses for all works requiring them; therefore, we encourage you to begin obtaining permissions as soon as your project is under contract with us.
The following guidelines will help you identify when you need to request permission and understand the reasons why. These guidelines should not be construed as legal advice or as a substitute for consultation with a knowledgeable attorney in any particular circumstance. For additional discussion of copyright and permissions, please refer to chapter 4 of The Chicago Manual of Style, 17th Edition, or to The Chicago Manual of Style Online. For the advice and wisdom of a publishing insider, we encourage you to pick up a copy of Permissions: A Survival Guide, by our Executive Editor Susan Bielstein.
Much of what you quote in your manuscript, and perhaps even some of your illustrations, is likely to not require permission, either because it falls under "fair use" or is in the public domain. We explain the concepts of fair use and public domain below, but first here are some basics of copyright.
What Is Copyright?
"Copyright is a form of protection provided by the laws of the United States (title 17, U.S. Code) to the authors of 'original works of authorship,' including literary, dramatic, musical, artistic, and certain other intellectual works. This protection is available to both published and unpublished works." (www.copyright.gov) Copyright affords the author of a work certain rights, including the right to reproduce it and to distribute copies of the work.
Unless you are able to claim "fair use" of a work, you must obtain permission from the copyright holder in order to reprint (or adapt) the following: prose, poetry, tables, copyrighted music, song lyrics, line drawings, photographs, fine art, and any other form of copyrightable expression.
Copyright of a work is owned by the creator of the work, known simply as the Author. As with any rule, there are exceptions: The copyright may have been assigned by the Author to another party; if the work is created as a "work for hire," or if it is undertaken as a part of one's job in the course of employment, the employer will own the copyright. In the case of published texts and music, the publisher likely administers the copyright; in the case of photographs or fine art, the artist is often represented by a gallery or agency who can grant reproduction rights.
US copyright law does allow for the fair use of copyrighted material for scholarly and critical purposes. If your use of copyrighted material falls within the bounds of fair use, you do not need to seek permission to use that material.
Fair Use
The doctrine of fair use was originally developed by judges as an equitable limit on the absolutism of copyright. Please understand that fair use is not a right in the tradition sense; it is actually a legal defense should the user of another party's work be sued for copyright infringement. Thus, fair use in one instance may be viewed as copyright infringement in another. No one can give an absolute prediction of how a court may rule in a particular case, so one should not make claims of fair use frivolously. Claims of fair use will be evaluated by the Contracts and Permissions office of the University of Chicago Press, though the legal and financial liability is ultimately the Author's.
In determining whether a particular use of copyrighted materials qualifies as fair use, four factors should be considered:
- the purpose and character of the use, including whether such use is of a commercial nature or is for nonprofit educational purpose;
- the nature of the copyrighted work;
- the amount and substantiality of the portion used in relation to the copyrighted work as a whole; and
- the effect of the use upon the potential market for or value of the copyrighted work. The fact that a work is unpublished shall not itself bar a finding of fair use if such finding is made upon consideration of all the above factors.
Since copyright is essentially a means of protecting financial interests, it is easier to make a case for the fair use exception for scholarly books or books with relatively small print runs. As a rule of thumb for scholarly works, short prose extracts, and poetry extracts (no more than several lines, depending on the length of the poem) will fall under fair use, provided they are the subject of discussion in the book, and no permission need be sought. It is more difficult to claim fair use for copyrighted works of visual art reproduced in their entirety, and you are encouraged to err on the side of caution in such cases.
For more on fair use, visit http://fairuse.stanford.edu/ and http://fairuse.stanford.edu/charts_tools/. The following link to an index of fair use court cases, provided by the copyright office, may also be a good resource for editors and authors: http://copyright.gov/fair-use/. Cases can be browsed by category or searched.
Public Domain
All works will eventually go out of copyright and enter the public domain. Once in the public domain, the exact work may never again be protected and is free for all to use. Herman Melville's Bartleby, the Scrivener, for example, is in the public domain, even if Melville's heirs would prefer that it not be. (One might, however, copyright an annotated edition of Bartleby.)
US copyright law is complicated and nuanced, but it is safe to assume that works created and published in the United States before 1928 are in the public domain. For works created after 1928, various terms of copyright apply, depending on the circumstance. The most conservative measure is to assume copyright extends for the life of the author plus 70 years, though for more on the nuances of post-1928 copyright, you may refer to the Cornell University Library Copyright chart.
When Permission Is Needed
Unless a work is in the public domain, or you have determined that your use of the work is very likely a case of fair use, you will need to request permission.
For Your Own Previously Published Work
You may need to seek permission to use or adapt your own previously published work. Many publication agreements issued by scholarly journals state that the author is free to republish the material in a book of his or her own. Before reprinting your own previously published material, review your publication agreement to see what rights you may have transferred to the original publisher.
For Texts
FOR TEXTS: For texts published after 1928 and quoted beyond acceptable practices of fair use, you will need to seek permission. For texts never before published, you may be able to claim fair use ("The fact that a work is unpublished shall not itself bar a finding of fair use," says the Copyright Act of 1976), but the standard is likely to be higher. Extensively quoted archival material that has never been published may require permission regardless of the date of composition. Please consult with your editor.
For Works of Art
Unless the work was published in the US prior to 1928, you will need to seek copyright permission to reproduce works of art whose creator died less than 70 years ago. Reproducing works of art often means obtaining two permissions: one from the copyright owner, and one from the provider of the actual photograph / transparency / negative / digital file that will be used to make the reproduction in the book. At Chicago, we make a distinction between "Copyright" permissions and "Use" permissions, and it is important not to confuse the two. If you plan to reproduce any works of art in your book, please carefully read Art Permissions Work for Your Book below.
For Film Stills
Authors wishing to reproduce frame captures from films are in luck. Frame captures, also called film stills, are generally considered to fall in the realm of fair use for scholarly publishing. Essentially, a frame capture represents 1/24th of one second of a film, which hardly represents the whole heart of the work, and cannot be said to infringe upon the market for the film. Film stills should not be confused with Production or Publicity Stills, which are photographs taken on a film's set, and which may be subject to copyright protection. For a complete discussion of the use of film stills in scholarly publishing, see the Report of the Ad Hoc Committee of the Society For Cinema Studies, "Fair Usage Publication of Film Stills" by Kristin Thompson.
Whom to Ask for Permission
You are obliged to make reasonable efforts to contact all persons or organizations with a legal interest in the work you wish to reproduce. In the case of texts, the publisher will likely have the authority to grant permission. In the case of works of art, the artist, the artist's gallery or estate, or an organization such as the Artist Rights Society will be able to grant permission.
Accounting for Your Permissions
Your manuscript can be more quickly prepared for publication if your permissions are well organized. It is helpful to create a spreadsheet to track your permissions, and to be sure each permission letter is labeled with the corresponding figure number (for illustrations), or chapter (for texts). We ask that you submit this spreadsheet with your final manuscript, final illustration program and permission letters.
More on Art Permissions for Your Book
Obtaining all the permissions needed for your book is a crucial step toward publication. Even if you have permission to reprint 299 of 300 images, that final outstanding permission will delay the book. For this reason we ask that you complete all the permission work before you submit your final manuscript and illustration program. You are also encouraged to keep a Permission Summary, logging the terms and conditions of each license for easy reference in a single document.
The benefits of completing this step in advance of submitting your final manuscript are many. Completing your permission work will ensure that you can include any necessary permission language or copyright notices in your list of illustrations or captions.
It means that our Contracts and Permissions Department will not place a "Hold" on the book for pending outstanding permissions. A Hold on a book can disrupt the production schedule and may have financial implications for you. Most lenders require the prompt return of transparencies, and they will charge late fees if the deadline for returning materials is not met. Keeping to the production schedule also means you can plan your time accordingly when it comes to reviewing the edited manuscript, galleys or page proofs.
With this in mind, we've prepared a brief primer on art permissions to help you tackle this project. In addition to these notes, the staff of the University of Chicago Press remains at your disposal should you have questions, concerns, or special circumstances to discuss. Authors expecting to acquire a good number of images and permissions are also encouraged to read Permissions: A Survival Guide, by Susan Bielstein.
The first step is to locate the images you need: who can provide a copy? A museum? An archive? An image bank like Art Resource? Once you've located the image, you'll need to formally request to use that image in your book. Please use the template permission letter found at the end of this document to request permission. In many cases, the Grantor will require that you complete their Application for Reproduction, but this letter is a fine way to initiate a request.
In accomplishing your permission work it is important to understand the crucial distinction between "Copyright Permissions" and "Use Permissions." The copyright for a work (a painting, a sculpture, a drawing) is not necessarily held by the owner of the physical work; in fact, in most cases the owner of the work does NOT own the copyright. For example, you wish to reproduce Picasso's The Old Guitarist, found in the collection of the Art Institute of Chicago. You request a reproduction from the Museum, and they provide a high-resolution digital file, along with non-exclusive world rights to reproduce this image in your publication. But all that the museum has granted is the USE of their reproduction; you must still obtain permission to publish the underlying work from the owner of the copyright, the Picasso Estate (administered in this case by Artist Rights Society-ARS). The Press must receive both the Use and Copyright permissions before we will publish this copyrighted image.
Some older works are in the Public Domain, which is to say that they are no longer in copyright. Laws vary from country to country, but the safest way to determine if a work is in the Public Domain is this: date of the Author/Artist's death plus 70 years. To use our previous example, Picasso's works will enter the Public Domain in 2043.
If a work is in the Public Domain, you may still need to obtain a "Use" permission. For example, say you'd like to reproduce Paul Cézanne's The Basket of Apples (1895). You find that the painting is in the collection of the Art Institute of Chicago, and you write to ask if they will provide a high-resolution digital file. The Art Institute will ask you to complete a permission application for the use of their reproduction, and they will require that you adhere to certain terms of use, even though the image itself is in the Public Domain.
"Use" permissions are not always necessary, and you are encouraged to seek the Press's advice regarding this gray area of copyright law. Despite the rulings in Bridgeman v. Corel, and more recently, in Meshwerks v. Toyota, stating that slavish reproductions of works do not rise to the level of copyrightable expression, some museums and other lenders continue to claim copyright for their photographic reproductions of works in the Public Domain. Sometimes these lenders may blacklist an author or a Press for using images in their collection without having obtained a Use Permission from them, or they may attempt to collect a fee and a penalty after publication. If you have an image, but do not have a Use Permission for that image, please consult the Press to determine whether or not one might be necessary.
When you are completing your Permissions Summary, we ask that you read each of your permission letters and record the following information on the Summary:
- Figure Number in your book, Artist, Title, medium
- The Credit, if any, required by the Grantor of both Copyright and Use permission.
- Grantor of Copyright Permission (if necessary)
- Grantor of Use Permission (if necessary)
- The Coverage of the permission (i.e., World rights, English Language, Color Proof required, not licensed for publicity, restrictions based on print run, etc.)
- The cost of the permission (if any)
- Free copies required as a condition of the permission. (These copies are considered part of the permission fee, and are the responsibility of the Author.)
Please also be sure to note any deadlines for the return of artwork on loan.
When you submit the Permission Summary with your final manuscript, please also submit digital files of ALL permission letters, including any attachments that outline the terms of the permission. Be sure, too, to scan BOTH sides of any double-sided letters or terms of agreement. For each permission letter, write the corresponding figure number(s) on the letter and organize the permission letters sequentially.
Once we have all the permission letters and the Permission Summary in-hand, the Press will review your paperwork, and production of the book can proceed without incurring delays caused by outstanding permissions.
Art Sources
Art Resource (www.artres.com) is an excellent place to begin your search for reproductions. Their affiliate, Artists Rights Society (www.arsny.com), can also help with copyright permissions. Another helpful resource for reproductions is Bridgeman Images (www.bridgemanimages.com). Other worthy online research tools are www.artcyclopedia.com and www.artnet.com
Downloadable Permission Request Templates
We recommend printing your permission requests on your institutional letterhead. (The files below are in RTF format.)
Our Standard Template for Text Permission Request
Template for Art Permission Request (Copyright Permission)
Template for Art Permission Request (Use Permission)
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Obamas War Crimes-Afternoon Addition
Rob Meltzer
Adding to the evidence that Obama really is a uniter and not a divider, an equal opportunity bipartisan pig, comes the news that the Prez has caved in and signed the NDAA, keeping America's torture factory in Cuba open for business. This guy is going to keep the Hague busy sorting out his various crimes against humanity for years to come. So, 24 hours after crowing that he kept his promise to tax people who make $250,000 or more (well, he caved on that), he lived up to his promise to shut down Gitmo. (wait, he didn't do that either). the guy hasn't even been sworn in yet and he's already tossed his promises to the wind.